Odsjek za anglistiku Filozofski fakultet Sveučilište u Zagrebu DIPLOMSKI RAD Christos Tsiolkas’ The Slap and (the Means of Uncovering) the Truth (Smjer: engleska književnost i kultura) Kandidat: Jelena Grobenski Mentor: dr. sc. Iva Polak, doc. Ak. godina: 2016./2017. Contents 1. Introduction..........................................................................................................................1 1.1. The Truth in Literature..............................................................................................................1 1.2. The Slap.....................................................................................................................................9 2. The Realities of The Slap...................................................................................................12 2.1. The Slap's Realism...................................................................................................................12 2.2. Submerged Violence and Explicit Sex....................................................................................15 3. The Aesthetics of The Slap.................................................................................................19 3.1. Communal Philoxenia.............................................................................................................19 3.2. Individual Aesthetics and Ethics.............................................................................................24 4. Conclusion..........................................................................................................................31 Works Cited..............................................................................................................................34 Abstract and key words............................................................................................................37 1. Introduction The aim of the thesis is to provide an exploration of the representation of truth in Christos Tsiolkas’ 2008 novel The Slap and subsequently propose the very truth of the novel itself. This requires that, firstly, the notion of truth, debated since the dawn of thought in numerous fields of human endeavour and inevitably escaping definitiveness, be put into a much narrower context. Therefore, the thesis will first consider this evasive notion in the context of literature from the perspectives of both aesthetic and literary theory. Since aesthetic theory is an especially vast, complex field laden with contradictions, its key concepts and points (of conflict) will be introduced by relying on the philosophical underpinning of Jerrold Levinson and John Powell Ward, while Kenneth Dorter’s theory of aesthetic truth will be tested against core principles of literary theories highly relevant for Tsiolkas’ novel. Secondly, the analysis will turn to the text of The Slap in order to examine the way truth is presented in the novel, with the final goal of identifying a universal truth of The Slap’s microcosm based on a close-reading of the text. It will be argued that the novel’s hard-boiled prose and crude aesthetic do not serve simply to shock and provoke controversy, but to defamiliarise for the reader, especially the Australian one, their own hypocrisy and ugliness in order to vindicate the value of uncertainty in the globalised world. 1.1. The Truth in Literature Originating in philosophy, the notion of truth is both fundamental and elusive when it comes to literature. The relationship towards truth constitutes one of key determinants that differentiate literary theories. Consequently, there is no consensus thereon. Though little justice can be done to the expansiveness and complexity of the subject through a potted history, a brief theoretical overview is indispensable for the analysis which is to follow. The subject will be approached from different angles and from the perspective of both aesthetic and literary theory, with emphasis on the points of conflict especially relevant for the novel in question. Philosophically, the notion of truth in art is closely linked to the equally elusive notion of aesthetic value. Aesthetic theory is “devoted to conceptual and theoretical inquiry 1 into art and aesthetic experience” (Levinson 3), meaning, namely, that it is concerned with the questions of what good art is, what its value is, and in what conditions (in the broadest sense) can this goodness be determined. As aesthetic theory was, up to the 19th century, a study of beauty found in art and nature rather than a “philosophy of art,” these questions are often interwoven with those regarding the notion of beauty (Levinson 25). This is especially problematic in literature, as there is no direct sensory experience. It is also worth noting that, when it comes to literature, the term “aesthetic” is widely used to describe the main determinants of specific literary movement, such as, for example, a postmodern aesthetic. John Powell Ward’s survey of some of the key points in the debate concerning art and the aesthetic reveals the complexity of the topic: “As to what is meant by aesthetic value [...] I don’t know,” wrote Mark Sagoff in 1981 (his emphasis), while Clifford Geertz had declared in 1974 that “art is notoriously hard to talk about.” In April 1999 the usually so-confident Brian Sewell stated that “I don't know what art is [though] I know what it is not.” (1) [...] Diametrically opposed positions pervaded the criticism of centuries. For Plato art was harmful, for Aristotle the reverse. For Hegel and John Stuart Mill art embodied perfection, for Ruskin and Hardy the touch of imperfection was hallmark. For Auden and Maugham attention-span to beauty was brief, for Keats it lasted forever. For Kant the aesthetic has no concept at all. The work of art is desired, but our very desire for its existence lets it resist us. In a famous article of 1956, Morris Weitz stated that “aesthetic theory is a logically vain attempt to define what cannot be defined [...],” for art simply “has no necessary or sufficient conditions.” (Ward 1-2) The thesis will, therefore, focus on a specific question of aesthetic theory – that of aesthetic truth. Dorter provides a take on that notion when he writes about the two types of knowledge whose juxtaposition dates all the way back to Plato: rational and irrational, i.e. conceptual and aesthetic (37). He designates four spheres of human experience in which art can express a certain truth: “1) our emotions, 2) cultural values, 3) sensory experience, 4) the elusive significance of our experience” (37). Respectively, they imply the following: 2 1) [t]o be aesthetically effective, the feelings [in a work of art] expressed must reflect more than the personal idiosyncrasies of the artist: [...] the feelings must be held in common, the particular must reveal the universal. In this sense art is able to disclose truth about our shared life of feeling. [...] 2) [e]ven when an artist does not set out deliberately to influence, interpret, or simply express the values of his culture, he will unavoidably reflect them, and even if a work of art is a failure of expression in other respects, this feature remains in evidence. (Dorter 38) Dorter exemplifies this by Hegel’s Zeitgeist and his claim that the very nature of art is to reflect the culture of the period in which it is created and further corroborates it with Heidegger’s remark that “the nation first returns to itself for the fulfilment of its vocation” through art (38). The third category of truth is mainly concerned with non-literary properties (color, shape, sound, scent, taste and feel in Dorter), though what Dorter in essence describes here is the effect that the Russian Formalists called ostranenie: “defamiliarization” or “making strange”, though one might also think here of Samuel Taylor Coleridge's idea that art can provide a “freshness of sensation”. The basic point, in any case, is hardly strange: a poem’s dense, unfamiliar, and difficult language can induce readers to attend more carefully, making them refrain from habitual or ‘stock’ responses and a purely instrumental, nonaesthetic mode of comprehension. (Levinson 744) The final category is clearly the most philosophical (i.e. ontological): In the case of particular events we can give particular explanations, but when such questions are addressed to some aspect of the world of experience as a whole, they can be answered only in terms of something outside that range of experience itself, something that does not appear within the world but which imparts significance to it. (Dorter 39) Dorter then renames these categories to fully reflect their implications, as will be discussed anon: “1) individual subjective feeling, 2) the collective subjectivity of a historic people, 3) the primitive perceptual qualities that constitute our experience from below, 4) the 3 significance that illuminates its meaning from above” (40). As Dorter goes on to vindicate the value of aesthetic knowledge against the backdrop of Plato’s philosophies, here follows a brief overview of the development of literary theory in the context of literary truth, which serves a practical purpose of laying the groundwork for the analysis of this complex notion in The Slap. Like aesthetics, liberal humanism, dubbed “theory before theory” by Barry (17), is concerned with good literature, but it does know what this implies: it is timeless, has meaning without context and can indeed only be properly understood if studied in isolation. Its purpose is to teach moral